David Shrigley, I Got Your Face Tattooed To Remember How Much I Hate You, 2022

I Got Your Face Tattooed To Remember How Much I Hate You (2022) – David Shrigley Screenprint

About the Work

I Got Your Face Tattooed To Remember How Much I Hate You (2022) is a striking David Shrigley screenprint that confronts the viewer with a combination of raw text and vibrant primary colour. Set against a highly saturated, monochrome yellow backdrop, the central motif features an asymmetrical, crude pink portrait rendered with intentional, childlike simplicity. This jarring juxtaposition between the cheerful background and the bizarre, cartoonish face sets a deceptively playful tone for the biting, dark satire of the text.

By contrasting a permanent act of devotion like a tattoo with intense spite, the composition masterfully captures the sheer absurdity of human bitterness. The wide-eyed, toothy grimace of the central figure serves as a visual manifestation of this emotional conflict, transforming a deeply personal declaration of hatred into a universal joke. This delicate balance of psychological tension and deadpan wit is a hallmark of the artist's celebrated text-based works.

David Shrigley

Nominated for the Turner Prize in 2013, David Shrigley has secured a celebrated position in contemporary British art through his irreverent satire and public installations. His monumental Fourth Plinth commission in Trafalgar Square, alongside major acquisitions by institutions such as Tate and the British Council, underscores his profound cultural influence. These accolades have solidified his transition from a cult draughtsman to an influential figure in the international art market.

Central to his practice is the translation of immediate, spontaneous line drawings into highly structured graphic mediums. Collectors highly prize this translation, recognising how a David Shrigley print preserves the raw, immediate energy of his original ink-on-paper sketches. This deliberate elevation of casual, everyday observations into the realm of fine art remains a key driver of his global appeal.

Screenprint Process

Utilising the traditional flatbed screenprinting process, this graphic work demonstrates an exceptional depth of colour through its hand-pulled ink application. The composition features rich, velvety layers of pigmented black, pink, and bright yellow inks applied onto premium heavy wove paper. This specific material choice ensures the flat planes of colour retain their intense saturation, preventing the ink from bleeding and maintaining the crisp edges of the hand-drawn lettering.

This meticulous printmaking method perfectly captures the physical nuances and fluid imperfections of the original brushstrokes. Printed and published in London by Jealous Gallery in a strictly limited run, this David Shrigley limited edition print exemplifies the high production standards of his collaborative publishing studio relationships. The resulting edition bridges the gap between mass-produced ephemera and the physical prestige of fine art printmaking.

Collectability

The market for the artist's graphic works continues to show exceptional resilience, driven by a global collector base that seeks out his most recognisable text-and-image configurations. Prints that feature his signature blend of dark, observational humour and bold graphics are particularly sought after for their immediate visual impact. This sustained collector interest has established a robust secondary market with highly active trading across major global contemporary art auctions.

Representing an important text piece from his highly sought-after 2022 publishing window, I Got Your Face Tattooed To Remember How Much I Hate You remains a particularly desirable example of his satirical practice. With a relatively small limited edition size of just 125 signed examples, the work offers a highly prized acquisition for those seeking a quintessential representation of his satirical output. Consequently, the print is highly prioritised by collectors looking to add a career-defining thematic work to their contemporary collections.